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Sir Gawain and the Green Knight (South Lancashire, C.1400, 90V-91R); British Library MS Cotton Nero A.X

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Sir Gawain and the Green Knight (South Lancashire, C.1400, 90V-91R); British Library MS Cotton Nero A.X View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Fig.1. First Two Folios of Sir Gawain and the Green Knight (South Lancashire, c.1400, 90v-91r); British Library MS Cotton Nero A.x. (art. 3); web; 12 June 2016. 1 Liberties that Editors and Translators Take: Unframing and Reframing the Border of Sir Gawain and the Green Knight Wajih AYED LERIC, Faculté des Lettres et des Sciences Humaines, Université de Sousse Abstract: In this work, I discuss the management of the initial iconic peritext of Sir Gawain and the Green Knight in a paper edition, a translation, and a digital facsimile. Writing from the perspective of cognitive narratology, I argue that the miniature is not a disposable illustration but a framing border, the (non) reproduction of which in each modern rendition of the text has different consequences on the mental processes involved in reading the poem. Keywords: Editorial liberties – iconic peritext – spatial status – cognitive frame / framing – framing border [O]ne would wish for an editing and reproduction culture in which framings, including original framings, are not as frequently omitted as in many present editions of literary texts…. — Werner Wolf, “Introduction” 33 Introduction Of the extant paratexts of Sir Gawain and the Green Knight,1 folio 90v2 in British Library MS Cotton Nero A.x. (art.3) is the most widely recognised illustration of the poem and, paradoxically, the least frequently reproduced in modern renditions of the text. Editors and translators of the poem have indeed taken liberties with the text and its peritextual elements which have significant repercussions on the cognitive processes involved in reading. Intrigued by the ghastly illumination at the beginning of the poem, I address the implications of its management in the critical edition by J.R.R. Tolkien and E.V. Gordon, in the classic translation by Marie Borroff, and in the ongoing hypertextual edition directed by Murray McGillivray. My theoretical approach is based on concepts from Gérard Genette’s theory of paratextuality and Werner Wolf’s frame-theoretical cognitive narratology. After mapping and analysing the status of the peritextual material in the manuscript and in the three modern renditions just mentioned, I specifically focus on the miniature on f.90v as a framing 1 Henceforth, SGGK. 2 The manuscript has two foliation sequences, the first is in ink (leaves 37-126 [SGGK 90v- 126v]) and the second is in pencil (41-130 [SGGK 94v-130v]). The former is used here. 2 border presenting the poem, assisting its textual reception, and keying its frames. 1. Editing the Paratext of SGGK: A Synchronic Edge for a Diachronic Axe At the beginning of his seminal Paratexts: Thresholds of Interpretation, Genette defines the paratexts of a literary work as the verbal or iconic elements which extend it and present it to the reader, such as illustrations, titles, subtitles, dedications, forewords, epigraphs, prefaces, authorial or editorial notes, epilogues, postfaces, and afterwords; he insists that these liminal productions serve as thresholds, as zones of transition and transaction between the text and the off-text (1-15). Rather than disposable accessories whose presence and presentation in (modern) reproductions depend on the decisions of editors, translators, and publishers, these paratexts are part of the overall textual production programme, where all elements are mutually dependent. At the end of his book, Genette succinctly summarises the relationship between a text and its paratext in an apt extended metaphor of organic interdependence. He memorably says, if the text without its paratext is sometimes like an elephant without a mahout, a power disabled, the paratext without its text is a mahout without an elephant, a silly show. Consequently the discourse on the paratext must never forget that it bears on a discourse that bears on a discourse, and that the meaning of its object depends on the object of this meaning, which is yet another meaning. A threshold exists to be crossed. (Genette 410) I could not agree more, but modern manipulations of SGGK have tended to tread lightly on this threshold, or simply to jump onto the text, thus denying readers the assisted access to the text permitted by its paratextual apparatus. If the relationship between text and paratext can be aptly rendered through the metaphor of the elephant and the mahout, the same relationship in the context of the manuscript can perhaps more appropriately expressed in terms of the knight and his horse, but the knight seldom rides his horse in modern paper editions and translations. In the manuscript, there he rides and alights. 1.1. Gawain in Colour: The Illuminated Peritext Surviving in only one manuscript held by the British Library and shelfmarked Cotton Nero A.x. (art. 3),3 SGGK is preceded by three poems 3 For a detailed description of the manuscript, see Israel Gollancz’s introduction to his classic facsimile (passim), the thorough essay by A.S.G. Edwards (197-219), and the more recent observations by McGillivray (34). 3 likewise ascribed to the Gawain-Poet,4 namely, Pearl, Cleanness, and Patience. The texts are ‘illustrated’ by twelve full-page miniatures: four before Pearl, two preceding Cleanness, two before Patience, one at the beginning of SGGK (which is the focus of this work), and three at its end. The spatial repartition of the text and its peritextual elements5 may be more clearly rendered in the following table: Initial Iconic Peritext Poem Final iconic peritext Text 4 miniatures Pearl –– Foliation 37r-38v 39r-55v Text 2 miniatures Cleanness –– Cotton Foliation 56r-56v 57r-82r Nero A.x. Text 2 miniatures Patience –– (art. 3) Foliation 82r-82v 83r-90r Text 1 miniature SGGK 3 miniatures Foliation 90v 91r-124v 125r-126r Fig. 2. Spatial Repartition of Text and Paratext in Cotton Nero A.x. (art. 3)6 One of the major issues in codicological debates about the manuscript is whether the iconic peritexts are original or subsequent. Corroborating an early critical view by Gollancz (9), Edwards argues for an “evident hiatus between copying and decoration” (218). Drawing on recent findings about Cotton Nero A.x. (art.3), as well as on her own ongoing research based on multi-spectral imaging of the miniatures in the manuscript, Maidie Hilmo contends that, while the recently evidenced use of iron gall ink for the poem and the underdrawings7 of the miniatures (which is very rare in medieval British manuscripts) does not demonstrate that the scribe and the artist were the same person, it “unquestionably places [them] more closely together in terms of opportunity, resources, and time frame” (1-2). As she cleverly suggests, the painter was probably different from the original artist; she further surmises that 4 The anonymous author is generally referred to as either the Pearl-Poet or the Gawain-Poet. The latter is used in this paper. 5 That is, the liminal elements spatially located inside the literary work; epitextual elements are originally located outside it (Genette 4-5). 6 I hasten to note that the spatial location of the miniatures does not mirror the progress and pace of the verbal narrative. For example, of the three iconic peritexts at the end of SGGK, only the last, depicting Gawain’s return to Arthur’s court is immediately related to the last two stanzas. 7 In codicology, underdrawing refers to the “[p]reliminary drawing that lies under the final painted or inked image” in a manuscript (“Underdrawing”). 4 a “novice or assistant did the painting, or that someone at a later stage intervened to add colour” (2). The plans for the miniatures were thus credibly part of the overall plan for the manuscript. The illumination on f.90v depicts two scenes. The small upper frame shows a royal couple and a warrior, perhaps sir Aggravain, in red, brandishing a sword on their left; on their right is another armed retainer shouldering a massive axe and raising his left hand while facing the king. Viewers can deduce that this warrior has obtained the axe from the king, offering to do in his stead what they understand later, after viewing the large lower frame. The axe-man has decapitated the green knight whose severed head, still dripping blood, has a defiant look darted at the executioner, whose gaze is proudly fixed on the beholder. The beheading scene is ellipted in the manuscript, but the whole miniature is generally eclipsed in modern editions and translations.8 Acting as a “visual preface” (Hilmo 1) to the poem, the miniature can be seen as a metaphor for the relationship between the text and its fringe in modern manipulations of SGGK. Writing about the poems in Cotton Nero A.x. (art. 3), Edwards points out that readers access these “as edited texts, that are the outcome of a large number of editorial decisions that affect general and particular aspects of the presentation of these works” (200, emphasis added), such as punctuation, capitalisation, lineation, transcription, and versification. If the authorial (or even allographic) paratext in Genette’s theory has the function of presenting the text to the reader, editorial decisions regarding both the text and its paratext can have a significant impact on the presentation, hence the interpretation, of the work. They should therefore not be taken lightly. As Erik Kelemen rightly observes, “for an interpretation of a work to be valid, the text on which the interpretation is based has to be an accurate representation of that work” (8, emphasis added). This has generally not been the case for the poem under study. In the following section, I focus on three editorial renditions of the initial iconic peritext of SGGK in two different media.
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